The Foreign Exchange have transformed themselves from a bastion of jazzy Hip Hop into a crossover group more akin to R&B’s soulful beginnings than the underground sound that was synonymous with Little Brother. Ultimately, listeners are the beneficiaries.

It’s a true spiritual successor to the original, and is everything fans could have asked for: a worthy follow-up, well-thought-out standalone project, and a very necessary commentary on society, government, and machinations by which the two interact.

It’s obvious Justin had quite a bit to say but sometimes, some things are just better left unsaid.

Nothing Was The Same showcases new skills--trimming the unnecessary songs, and focusing on narrative details the way he does on “From Time”--that will strengthen Drake’s arsenal and help him continue to cement his status as a pop-rap heavyweight for years to come.

Overall, the album lacks the shine and luster of the previous two Maybach Music Group compilations.

Take it or leave it, Wise Up Ghost is great.

This album is a polished, lateral step with an accompanying barcode for Weeknd’s fans. And outsiders looking to understand his appeal are likely better off downloading the three mixtapes that preceded the album.

Loyal 2 Chainz supporters and casual fans may enjoy B.O.A.T.S. II: #MeTime as functional, turn up music. But listeners that don’t fall into either of those categories would do well picking up more uniform offerings from similar artists.

There’s no doubt that this project will have traction with some listeners, but that will based on the names involved and not the quality control (or lack thereof) presented.

There’s no glorifying of childish trends or negative influences, instead Monae favors creating music that could be embraced by varying demographics and is molded to withstand the test of time.

Existing within that world that overlooks lyrical competence or any moral deficiencies, there are enough instances where the veteran’s effortless style starts veering too close to effort-less.

For those willing to experiment, Age Against The Machine serves as both a piece of art and a rewarding risk in an age where established artists are fearfully playing it safe.

As a whole, the feel-good album’s set of eclectic beats doesn’t disappoint, but it lacks diversity.

Overall, A$AP Ferg’s Trap Lord, is a solid, if an sometimes-uninspired effort.

Where he has yet to master the art of making complete songs (“Uncle Al” clocks in under a minute long) and his diction tends to lacks clarity, Earl paints pictures in a manner more poetic than just about all within his peer group.

The album is repetitive in nature (a sure complaint for anyone highly critical of his solo work), Prodigy continues his largely consistent reign as a still thriving pioneer of New York’s once thugged-out era.

There are a few holes--the project’s length and forgettable appearances (Wiz Khalifia on “See Me”)--but overall, it’s an incredible album that will keep that hint of burgundy in the sky.

Overall, Saaab Stories is the meeting of two artists who push the old Hip Hop formulas to new places unlike other ‘90s era revivalist types who would rather cling on.

Ace Hood fails to deliver on Trials & Tribulations, and with four albums under his belt that have produced similar results, no rapper has arguably done so much and so little at the same time

It doesn’t introduce a new sound, nor does it feature many moments we haven’t heard before. Yet what makes this album important are all the reasons Hip Hop needs Freddie Gibbs. On any one album, he can give you pieces of Tupac, UGK, Three 6 Mafia, and blend them into a harmony that would make Bone Thugs-n-Harmony proud.

It’s a harsh listen that’s likely more obscure to casual, Top-40 listeners than R.A.P. Music. That’s too bad for them, because Mike and El-P seemingly unleash every item in their B-boy tool kit this time around.

It’s a harsh listen that’s likely more obscure to casual, Top-40 listeners than R.A.P. Music. That’s too bad for them, because Mike and El-P seemingly unleash every item in their B-boy tool kit this time around.

Magna Carta Holy Grail is where Jay-Z’s emceeing finally meets his “High Rap” ambitions. This is easily the best rhyming Jay’s done since American Gangster. But a sharp Shawn on the mic isn’t a surprise. What is a surprise is that this is the most cohesive project Jay’s put together since The Blueprint.

While not without its flaws (the “Bad” remix was unnecessary, and probably done simply for the big name feature), those questioning the direction Wale was going post MMG affiliation will more than likely be pleased with The Gifted.

Whatever adolescent deficiencies Mac Miller dealt with throughout his prodigious rise as Rostrum’s second brain child, Watching Movies With The Sound Off genuinely keeps him grounded for a calculated performance that will earn him the respect he’s craved since his Easy Mac days.

The project succeeds in tying its theme of spiritual crisis amidst stardom to an analogy for the struggle to satisfy purists, but the overall results for this concept are fairly lackluster.

While the album might incite a little listener’s fatigue in a single session absorption, it functions well as an inspiringly crowded display case of quality Rap in 2013.

Yeezus--like Yeezy--is jarring, uncomfortable, uncompromising and courageous--all the things that initially made Hip Hop great.